FM 12-02T ~s D 1D I· ~o·, l~-o~T SKILL LEVELS 1 . 2 . 3 HEADQUARTERS, DEPARTMENT OF THE ARMY COMMANDER'S ATTENTION Distribute this manual to each soldier in MOS 02T $kill levels 1-3. This Soldier's Manual lists and explains the tasks in which a soldier must be proficient to be MOS qualified. If the soldier follows the road map it provides, he should progress readily to positions of responsibility commensurate with his aptitude and motivation. Initially, Soldier's Manuals will be distributed at unit level, based on assigned strength in the particular MOS arid skill level. If additional manuals are needed by the unit for MOS study, libraries, or other training needs, DA Form 17 (Request for Publications) may be sent direct!y to the US Army Publications Center, 2800 Eastern Boulevard, Baltimore, MD 21220. Each soldier is responsible for retaining and maintaining his manual. Soldier's Manuals are designed on the modular system. Each skill level manual builds upon the preceeding ones. For example, a Staff Sergeant needs the manual for skill levels 1, 2, and 3 to tell him what he needs to know for proficiency at his present level. He also needs the level 4 manual to tell him what he must know at the next higher level. In short, he needs all 4 manuals to gain and maintain proficiency. Upon promotion to grades E6 or E7, the soldier must order his next higher level manual directly from the agency identified in this manual. Unless otherwise noted, the third person singular "he" is understood to stand for both female and male genders. This Soldier's Manual was prepared by the US Army Element, School of Music. ~.:..~ r. /'u WILLIAM E. CLARK ~~ Major, AGC Commandant i RESERVE COMPONENTS ARMY NATIONAL GUARD -ARMY RESERVE This page is information for you, the Reserve Component soldier. This Soldier's Manual, as published, is representative of the critical tasks to be performed by the Active Army soldier in your MOS on equipment available in the Active Army inventory. Most tasks in this manual are applicable to you without changes. However, some tasks may require modification due to differences of equipment,facilities and training time available to you. By now, you are probably wondering why this special page. This is to inform you that due to time constraint, this Soldier's Manual has not undergone a review process necessary to make it equitable to you, the Reserve Component soldier. In the meantime, you will be using this manual along with your Active Army counterpart. Further publications of Soldier's Manuals will undergo the necessary review process. This manual will be included in that review and if applicable, change sheets will be published and distributed to you. Some tasks that you learned in BCT, AIT, or during your OJT with an active duty band are in this manual. There are other critical tasks that you are responsible to learn on your own. Training references/materials are available and can be provided to you through your unit. This is where your initiative comes into play. It is to your advantage to take the initiative NOW. Your performance in your duty position will be based on your ability to perform all the critical tasks for which you are accountable. ii Field Manual 12-02T Chapter 1. Chapter 2. Chapter 3. Section I. Section II. Section III. Appendix A. Appendix B. READ~UARTERS DEPARTMENT OF THE ARMY Washington, D.C., 3 March 1978 GUITAR PLAYER GUITAR/PIANO SECTION LEADER MOS 02T, Skill Levels 1, 2, and 3 PAGE INTRODUCTION 1-1 What is a Soldier's Manual? 1-1 Using your Soldier's Manual 1-1 The Soldier's Manual and Your Supervisors 1-3 EPMS 1-4 The Soldier's Manual and You 1-4 Career Path and Training for Bandsmen 1-4 Skill Qualification Test 1-8 Promotion 1-9 COMMON SOLDIER TASKS 2-1 TASKS FOR GUITAR PLAYERS 3-1 Skill Level One Tasks 3-I-1 Skill Level Two Tasks 3-II-1 Skill Level Three Tasks 3-III-1 References A-1 Representative Music B-1 iii CHAPTER ONE INTRODUCTION WHAT IS A SOLDIER'S MANUAL? Your Soldier's Manual tells you what you must be able to do as a Bandsman to be proficient in your MOS at your current skill level. USING YOUR SOLDIER'S MANUAL. To understand how to use your Soldier's Manual, it is first necessary toknow a few terms used in your Soldier's Manual. These terms are discussedbelow: Task. An act or series of acts performed by an individual in order to produce a product or to achieve a certain result is called a task. A group of tasks go together to form a "job" or "Duty Position." Critical Task. A task which is required for mission accomplishmentor successful job performance and survivability on the battlefield. Military Occupational Specialty (MOS). Technically, "a grouping ofduty positions possessing such close occupational or functional relationship that an optimal degree of interchangeability among persons soclassified exists at any given level of skill." In other words, if yourofficial MOS is 02Bl0, Trumpet Player, you should be able to do the jobof any 02Bl0, Trumpet Player, in any Army Band in the world. Common Skill Level. A task performed by every soldier in a skilllevel of a specified MOS. Job. The tasks performed by a single worker constitute his job. Ifidentical tasks are performed by several individuals, they all hold the same job. You may also encounter the term "Duty Position" which is thesame as "jo~." In some career fields, two soldiers with the same MOS mayhold different jobs, such as Rifleman and Radio Telephone Operator. All Bandsmen (except Special Bandsmen) with the same MOS have the same job. GO/NO GO. This is a pass/fail criterion of evaluation whereby thesoldier cannot be "partially correct." He either meets the standard orhe does not meet the standard. Performance Measures. Those steps or behaviors that the soldier or scorer observes to determine if the task is being or has been performedcorrectly. 1-1 The Soldier's Manual is initially published for Skill Levels 1, 2, and 3 and supplements are added for Skill Level 4 and Skill Level 5. Skill Level tasks are color coded in the following manner: Skill Level 1: White Skill Level 2: Yellow Skill Level 3: Green Skill Level 4: Salmon Skill Level 5: Blue The FORMAT of your Soldier's Manual will fall into the following order: CHAPTER ONE of the Manual is introductory and discusses your training, career path, evaluation, and the Enlisted Personnel Management System (EPMS). CHAPTER TWO introduces Task Summaries for common military subjects. These tasks were developed by the Army Service Schools having expertise in these subjects but are considered very important for Army Bandsmen. CHAPTER THREE contains tasks which are unique for bandsmen or administrative tasks specially designed for the needs of Army Bands. This chapter is in sections; one section for each skill level. The TASK SUMMARY contains the following information: a. The TASK NUMBER identifies the task. This number is assigned as follows: (1) The first three digits (usually 875) designate the agency that prepared the task. (2) The second three digits indicate the MOS to which it applies. For instance, 442 indicates a task for 02B Trumpet Players, 446 indicates a task for 02F Tuba Players, 456 indicates a task for Brass Groupleaders, and 441 indicates the task is common to most bandsmen. (3) Of the last four digits, the first means the task is introduced at that skill level, the second means it is related to other tasks with that same number, and the last two are simply the sequence of the task as it was written. This numbering system may not apply to tasks found in Chapter Two since they were developed by agencies which use other numbering systems. b. The TASK TITLE states what you must be able to do. c. The CONDITIONS state the situation and/or list the required equipment. Unless otherwise stated, all tasks in this manual may be performed in your duty uniform and in your normal rehearsal facilities. Any task dealing with instrumental performance implies using your Government issued or privately owned instrument. 1-2 d. The STANDARDS state how well you must be able to perform the task. In any task concerning instrumental performance, the minimum requirements have been described; but it is to your advantage to play as well as possible. e. The PERFORMANCE MEASURES describe an acceptable manner of performing the task. f. The REFERENCES direct the trainer or soldier to the publication or Training Extension Courses (TEC) which cover the subject in detail. In most instrumental performance tasks, which are obviously not learned from a single chapter or book, you are referred to a list of commercially published method books. These method books are recommended by expert instrumentalists to help you master your instrument. A consolidated list of these commercial publications, as well as Department of the Army Publications, is found at the back of your Soldier's Manual in Appendix A. Appendix B is a list of music in the various idioms derived from a sample field survey. It will give you an indication of the types of music your SQT will test. ROLE OF YOUR COMMANDER, SERGEANT MAJOR, ENLISTED BANDLEADER, GROUP AND SECTION LEADERS Your supervisors through the chain of command will also use this manual. The tasks in ~his manual were selected after a careful study of your job. The references and supporting materials are provided for your use and theirs. The design and conduct of your individual training and the evaluation of your proficiency will depend on your and your supervisor's use of this information. A NOTE TO TRAINERS A baseball team's manager plans and conducts spring training to regain skills lost by the players during the winter. Skills not practiced are soon lost. For this reason, you must develop your unit's training program by first determining the proficiency level of your individual soldiers and then training them in areas of poor performance. As a leader and trainer, you should be able to perform all tasks except the instrumental performance tasks of each bandsman you supervise. Use your knowledge, experience, and the process described in Chapter 3, of FM 21-6, How to Prepare and Conduct Military Training. The soldiers in your unit will be required to take a Skill Qualification Test (SQT) to evaluate their ability to perform the mission of the band. The evaluation score that the soldier receives on the test will, in part, determine his eligibility for promotion, reenlistment, schools, and future assignments. Indirectly, this test also measures your success as a trainer in preparing your soldiers. 1-3 ENLISTED PERSONNEL MANAGEMENT SYSTEM The Enlisted Personnel Management System (EPMS) is a combination ofpolicies pertaining to training, evaluation, classification, and promotioninto an overall system and is designed to increase professionalism of the enlisted force. What does this mean to you? EPMS provides the means for you to look intothe future and see a realistic, clear and viable career progession pathfrom Private to Sergeant Major. By understanding the programs which makeup EPMS and by planning for professional development, you can progressthrough a challenging and rewarding Army career. Your progress, however, will depend on the extent that you use the system and how well you perform. THE SOLDIER'S MANUAL AND YOU This manual describes what the US Army expects you to know and to be able to do as an instrumentalist in the Army Band program. In addition to job tasks, it discusses management and training systems set up to let you achieve your full potential for promotion and a rewarding career as an Army Bandsman. If you need help using this manual or want to know more about advancement opportunities, see your Section or Group Leader. He has experience in helping soldiers learn about training, evaluation~ and the system for getting ahead in the Army. Take advantage of his knowledge and experience. The Army wants and needs well-trained soldiers who desire to advancethrough the ranks. This manual and the willing assistance of your seniorNCOs are the tools you can use to your advantage and. to the Army's. YOUR CAREER PATH AND TRAINING The career path for Army Bandsmen gives you a step by step progression toSergeant Major. You begin as a trainee, advancing to Skill Level 1 upon graduation from AIT. If you distinguish yourself with exceptionalachievement, you may be awarded Skill Level 2 at this time. If not, youwill still be able to earn Skill Level 2 at a later date by getting a highpassing score on SQT2. SQT is addressed later in this chapter. The next step is to Skill Level 3, Section Leader. You will take SQT3 asa SPS and, if you earn a high passing score, you will be awarded Skill Level 3. This is an important step towards promotion to Staff Sergeant. As a Section Leader you will be supervising your own instrumental sectionor, if your section is quite small, a consolidated section of related instruments. 1-4 ~~ As a Staff Sergeant, you will take SQT4. A high passing score on this test qualifies you for Skill Level 4, the biggest step towards promotion to Sergeant First Class. When promoted to E7, you will become an instru mental groupleader in charge of several sections. Band management will be an important part of your job at this level. Your MOS changes to 02P, Brass Groupleader, 02Q, Woodwind Groupleader, or 02R, Percussion Groupleader, when you are promoted to E7. At this point, you will take SQT5 to qualify for Skill Level 5. When you earn Skill Level 5, you are eligible for promotion to Master Sergeant. Promotion to Master Sergeant brings about another change of MOS; to that of 02Z, Enlisted Bandleader. As the principal non-commissioned officer in a band, your job is especially rewarding. Distinguished service in this grade will help you earn a promotion to Sergeant Major, which is also designated Skill Level 5. The Sergeant Major is the Enlisted Bandleader of a major headquarters band. He may also serve as an assistant to a Staff Bands Officer of a major command. As a Sergeant Major, you will be able to compete for appointme11t as Command Sergeant Major. You will find the diagram for Career Management Field 97 (Band) on the next page. It will give you an idea of your career path in a glance. Training is available at every step to help you earn high SQT scores. See the career ladder on page 1-7 for a quick overview. You were trained for Skill Levels 1 and 2 in AIT. If you have not yet qualified for Skill Level 2, you must study hard. Most new tasks for Skill Level 2 are advancing instrumental performance tasks. Intense individual practice is the best way to prepare for SQT2. In some cases, government funds may be available for private instruction from a qualified civilian instrumental instructor. Ask your Enlisted Bandleader to see the installation educational advisor for details. No resident technical instruction is currently available for Skill Level 3. However, the band personnel correspondence course will introduce you to most of the administration required of non-commissioned officers in the band and to some advanced musical subjects. This is also the ideal time to take the Primary Leadership Course if it is available. This course will not address any technical tasks but will help you learn basic leadership skills to make you a more effective soldier. The Groupleader' s (Advanced) Course is available to eligible bandsmen in Skill Level 3. This is a 19-week course with emphasis on drum majoring, arranging, band management, and beginning conducting. 1-5 CAREER MANAGEMENT FIELD--BAND (97) fORNET OR TRUMPET PLAYER BRASS GROUP (971) BARITONE FRENCH EUPHONIUM HORN TROMBONE PLAYER PLAYER PLAYER II FLUTE-TUBA ·PICCOLO PLAYER PLAYER WOODWIND GROUP (972) OBOE CLARINET BASSOON PLAYER PLAYER PLAYER PERCUSSION GROUP (973) SPECIAL BAND (975)II 11 ISAXOPHONE PERCUSSION PIANO GUITAR SPEC!~ PLAYER PLAYER PLAYER PLAYER BANDSPERSON II6Mtll r~:~1 LEADER rWOODWINriJ GROUP LEADER ...... I (J\ SUBSTITUTABILITY: None THIS CHF HAS BEEN REVISED IN SUPPORT OF EPUS. TRAINEE ~Line of normal progression. ttApproved service school program of instruction. Refer to DA PAM 351-4 for course information and to appropriate class schedule for availability of classes. • rcoMMAND SERGEANT MAJORI 1' ENLISTED :,--------------------WARRANT OFFICER ,I ,I _________If.._________ I I BAND LEADER I BANDMASTER I r··----------j E 9 I lsPECIAL II ' DISTINGUISHED I II I I PERFORMANCE- I iBANDSMANL---------I -I II SERGEANTS MAJOR ACADEMY I I ENLISTED II I SKILL LEVEL 5 BAND LEADER ----------_).~\_____ ---------.:;,~ E 8 I 1r----------I II ~~ I SQT 5 :sPECIAL EXPERIENCE- I SENIOR COURSE :BANDSMAN I I ..I ________-I I INSTRUMENTAL 1'SKILL LEVEL 4 GROUP LEADER ---------)1I r---------E-7 : II\ SQT 4 I lsPECIAL I I I EXPERIENCE- IBANDSMAN I ' I ADVANCED COURSE L-------- INSTRUMENTAL • 4' SKILL LEVEL 3 SECTION LEADER ----------)JE-6 1~--------- SQT 3 I :sPECIAL I !BANDSMAN._. _______ _-I II SECTION LEADER'S COURSE I PRIMARY LEADERSHIP COURSESENIOR J SKILL LEVEL 2 INSTRUMENTALIST r----------E-5 r" 1 II I:\ I SQT 2 !SPECIAL I I EXPERIENCE iBANDSMAN I L.---------I -I SELF STUDY INSTRUMENTALISTSKILL LEVEL 1 E-1 -E-4 II\-SUPERIORACADEMIC ,. ACHIEVEMENT BANDSMAN ~ TRAINEE ADVANCED INDIVIDUALTRAINING (AIT)BASIC COMBAT TRAINING (BCT) 1-7 The Enlisted Bandleader's (Senior) Course is available to qualified Groupleaders. It is a 20-week course featuring intensive instruction in conducting, arranging, drill and ceremonies, and all aspects of band management. This course is considered preparatory for the Warrant Officer Bandmaster Course and is available by special waiver to bandsmen in lower grades for the express purpose of preparing for Warrant Officer candidacy. You may be selected for the Sergeant Major's Academy while a Master Sergeant. This is the ultimate in military education for enlisted soldiers. The course prepares senior NCOs for duty as Command Sergeant Major. Just as important as the formal education you receive is the education you provide yourself. This takes motivation on your part but the opportunity is there. a. Get a book of duets from the library and do some sight-reading with your Section Leader. You both will benefit. b. Form some on-duty or off-duty ensembles and take turns conducting the group. You'll have fun while sharpening your skills. c. If you are an NCO in a division band, try to stay abreast of administration by visiting the company orderly room. d. Start learning to play a related instrument. It will make you more versatile, increasing your value to the band. These are only four ideas for self-study. Your imagination will bring many more and, if you pursue them, you'll learn a great deal. SKILL QUALIFICATION TEST (SQT) The SQT is the test instrument used to evaluate your job proficiency. Use the task summaries in this manual to prepare for your SQT. Your SQT will consist of three components: a. Written Component (WC): a portion of the test where you will be asked questions about tasks appearing in the Soldier's Manual. b. Hands-On Component (HOC): a portion of the test where you will be asked to perform the task as you would on the job. c. Performance Certification Component (PCC): a portion of the test where your supervisor scores your performance of the task some time during the 12 months prior to the SQT. 1-8 Sixty to ninety days prior to the SQT administration you will receive an SQT Notice informing you, by task number, which tasks will appear in the SQT as well as how the test will be tested (WC, HOC, PCC). This notice will also include the music you must prepare for the SQT. After the SQT has been taken and scored, you will receive a report showing your score and telling you which test items you missed on your SQT. PROMOTION. The Army is eager to promote outstanding performers who demonstrate the potential and ability to assume the duties of the next higher grade. Byrealizing that with promotion comes increased responsibility, as well as pay and privileges, you can better understand the established prerequisites. Under EPMS, you must first attain the skill level of the next higher grade before you can be considered for promotion and you must maintain the proficiency gained until promoted. There is one training prerequisite which must be met; demonstration of proficiency in your MOS. MOS proficiency is demonstrated by obtaining a qualification score on your SQT. Training to accomplish this goal is met by attendance at the course of instruction for the next higher grade or byon-the-job experience (OJE). Remember, the award of the next higher skill level does not, in itself, guarantee promotion. You must also be recommended by your commander and satisfy the prescribed administrative requirements (i.e. time in grade,time in service, etc.). You are continuously recommending yourself bythe manner in which you do your job and through your personal behavior and efforts. 1-9 CHAPTER TWO COMMON SOLDIER TASKS Section I. Skill Level One Tasks 2-I-1 Section II. Skill Level Three Tasks 2-II-1 2-1 SECTION I. SKILL LEVEL ONE TASKS 071-327-0250 Maintain Individual Physical Fitness Appropriate to Unit Mission 2-I-3 071-311-2001 Perform Operator Maintenance on Ml6Al Rifle, Magazines, and Ammunition 2-I-4 071-311-2050 Engage Targets with an Ml6Al Rifle 2-I-10 091-503-1001 Maintain Protective Mask and Accessories 2-I-15 091-503-1002 Put on a Protective Mask 2-I-17 2-I-1 2-I-2 071-327-0250 MAINTAIN INDIVIDUAL PHYSICAL FITNESS APPROPRIATE TO UNIT MISSION. CONDITIONS: During daylight, in clear weather, at a test site established for the Physical Fitness Test appropriate to your unit. STANDARDS: You must demonstrate, once every 6 months, that you can meet or exceed the minimum level of physical fitness required of each member of your unit in accordance with the standards contained in AR 600-9 exceeding the minimum standard total score of 300 or more points on the appropriate Physical Fitness Test if you are under the age of 40. NOTE: SQT credit will be awarded as follows: SCORE SQT POINTS 0-299 0 300-50~0--------------------------~1 REFERENCES FM 21-20, Physical Readiness Training. (Chap 25, pages 226-227) AR 600-9, Army Physical Fitness Program, 7 May 74. (Chap 2, pages 2-1 and 2-2) 2-I-3 071-311-2001 PERFORM OPERATOR MAINTENANCE ON M16Al RIFLE, MAGAZINES, AND AMMUNITION CONDITIONS: Given an M16Al rifle, magazine, five rounds of cal. 5.56-mm ammunition (three good rounds and two dented rounds), cleaning rod, wire bore brush, chamber brush, toothbrush, rifle bore cleaner, LSA or LAW lubricant, rifle patches, and clean dry rags. STANDARDS: Within 50 minutes: 1. Inspect weapon and magazine for proper functioning of all parts. 2. Disassemble weapon and magazine. 3. Clean weapon and magazine free of dirt, grease, or carbon which will impair the operation. 4. Reassemble weapon and magazine. Conduct the function check. 5. Inspect and clean ammunition with dry cloth. 6. Turn in dented rounds to supervisor. TRAINING 1. Inspection. a. Rifle. Visually inspect weapon for obstruction, burrs, cracks, or any deficiency which will impair the functioning of the weapon. b. Magazine. Damaged magazines or those suspected of damage should not be used, and no attempt should be made to repair them. c. Ammunition. Check ammunition for serious corrosion, dents, loose bullets, and dirt. 2-I-4 2. Disassembly of Weapon and Magazine. a. Rifle Disassembly. Remove 2 Open bolt andmagazine eyeball chamber 4 Pivot upper 3 Remove handguards receiver fromlower receiver 5 Pull back 6 Remove 7 Remove chargingcharging handle bolt carrier handleand bolt carrier and bolt DO NOT OPEN OR CLOSE SPLIT END OF PIN 1/I ~ PUSHIN 8 Remove 9 Put bolt assembly in lock firing pin retaining pin position 2-I-5 #j ~TALLS / OUT 11 Remove bolt cam pin ~~--~ 10 Remove firing pin through rear of bolt carrier 12 Remove bolt assembly from carrier DON'T SEPARATE SPRING FROM EXTRACTOR 13 Remove extractor pm 14 Remove extractor and spring 15 Remove sling 16 Push receiver 17 Separate upper and lower receivers pivot pin 18 Press in buffer. depress 19 Remove buffer retainer and release buffer and spring 2-1-6 b. Magazine Disassembly. 1. RELEASE SASE CATCH WITH ROD 2. REMOVE BASE NOTE: DO NOT REMOVE FOLLOWER FROM SPRING 3. JIGGLE SPRING AND FOLLOWER TO REMOVE 3. Care and Cleaning. a. Cleaning Rifle. Clean and lightly lubricate with LSA the lugs in barrel extension, bore, and chamber. Clean and lightly lubricate the bolt carrier. Lubricate slide cam pin area, piston rings, outside bolt body, and in bolt carrier key .. __ (CAUTION: Apply only a light coat of LSA to firing pin and firing pin recess). Use rifle bore cleaning compound (RBC) to clean powder fouling in the upper receiver. Clean outside surface of protruding gas tube with a worn bore brush. Coat all other surfaces with lubricant. Apply a light coat of LSA to buffer, action spring, and inner surfaces of lower receiver extension. Use generous amount inside lower receiver and on all components. b. Cleaning Magazine. Wipe dirt from tube, spring, and follower, then lightly lubricate the spring. c. Cleaning Ammunition. Use a clean, dry cloth to wipe dirt and foreign matter from ammunition. Do not coat with oil. 2-I-7 4. Assembly of Weapon and Magazine. a. Rifle Assembly. 2. JOIN UPPER AND LOWER RECEIVERS PUSH SLIP RING DOWN .. 3. ENGAGE RECEIVER PIVOT PIN 4. PUT If the spring comes loose, put the large end of spring in the extractor and seat. 7. PUSH IN EXTRACTOR 8. SLIDE BOLT INTO CARRIER PIN Give cam pin a 1/4 turn after assembly. 9. PUT IN BOLT CAM PIN 10. DROP IN AND SEAT 2-I-8 13. HOOK IN THEN PUSHCHARGING. HANDLEPART WAY 11. PULL BOLT 12. PUT IN PIN CAUTION: Selector lever must be on safe. or semi before closing uppe_r receiver. 14. SLIDE IN BOLT 15. SHOVE IN CHARGING _____...___-.-JCARRIER HANDLE AND BOLT 16. PUSH IN TAKE-CARRIER TOGETHER DOWN PIN b. Magazine Assembly. IF THE SPRING COMES LOOSE FROM THE FOLLOWER, TURN IN THE PIECES. DON'T TRY TO FIX IT YOUR SELF. 1. JIGGLE SPRING AND FOLLOWERTO INSTALL MAKE SURE PRINTINGIS ON THE OUTSIDE. 2. SLIDE THE BASE. UNDER ALL FOUR TABS REFERENCES FM 23-9, M16A1 Rifle and Rifle Marksmanship, 14 June 74. (Chap 1, sec V,pages 28-41) TM 9-1005-249-10, Operator's Manual, C.1, 2, 10 May 72. (pages 9-26; 28-29)TEC Lesson 939-071-0010-F, Disassembly and Assembly of the M16A1 RifleTEC Lesson 939-071-0011-F, Maintaining the M161A Rifle 2-I-9 071-311-2050 ENGAGE TARGETS WITH AN Ml6Al RIFLE. CONDITIONS: Situation 1. a. During daylight on a standard record fire range, given a zeroed Ml6Al rifle, 80 rounds of caliber 5.56-mm ammunition (eightmagazines of 10 rounds each to engage one target with one round), a requirement to fire Record Fire I and II for qualification firing, and equipment as outlined in FM 23-9 for Record Fire I and II. b. During darkness on a standard night record fire range, given a zeroed Ml6Al rifle, 72 rounds of caliber 5.56-mm ammunition (12rounds for practice firing, two magazines of six rounds each; and 60 rounds for record firing, four magazines of 15 rounds each), a requirement to fire Night Record Fire, and equipment as outlined in FM 23-9 for Record Fire-Night. Situation 2: During daylight on a known distance range (asdescribed in paraS of appen4ix 1, FM 23-9, Change 1), given a zeroed Ml6Al rifle, 50 rounds of caliber 5.56-mm ammunition (5 magazines of ten rounds each to engage each target with ten rounds), a requirement to fire, Record Firing, Known Distance (total rounds 100) as outlined in para 16(d), appendix 1 of FM 23-9. Situation 3: During daylight on a 1000-inch range, given a zeroed Ml6Al rifle~ 42 rounds of caliber 5.56-mm ammunition, a requirement to fire standard course "C" for record fire as outlined in appendix D of FM 23-9. STANDARDS: Situation 1: a. Fire Record Fire 1 and II and achieve a combined minimum qualification score of 43 within the minimum time as outlined in FM 23-9. b. Fire the standard night record fire range and achieve the minimum qualification score as dictated by the commander. 2-I-10 Situation 2: Fire Known Distance Record Firing Table as outlined in para 16, appendix 1 of FM 23-9 (Change 1) and achieve a minimum score of 300. Situation 3: Fire Record Fire Course "C", as outlined in appendix D of FM 23-9 and achieve a minimum score of 100. NOTE: For SQT purposes, soldiers may be tested in any of the above situations according to local requirements. ARMS QUALIFICATION SQT POINTS Unqualified_______________________________________________________ 0 Qualified 1 TRAINING 1. Assume a stable firing position. 2. The aperture marked "L" is used for ranges beyond 300 meters and the unmarked aperture for ranges from 0-300 meters. 3. Fire the weapon using the correct sight picture and alinement and correct placement of th~ aiming post. a. Sight Picture. In aiming, the firer is concerned with correctly pointing his rifle so the projectile will hit the target when he fires. To do this, he must have the rear sight, the front sight post, and the target, or aiming point, in their proper relationship-known as sight picture. A correct sight picture is obtained when the sights are perfectly alined and the aiming point (target) is in the correct relationship to the front sight post (figure 1). Sight picture includes two basic elements: sight alinement and placement of the aiming point. b. Sight Alinement. To obtain correct sight alinement, the sights are alined as shown in figure 2. Notice that the top center of the front sight post is exactly in the center of the rear sight aperture. If an imaginary horizontal line were drawn through the center of the rear sight aperture, the top of the front sight post would touch this line. If an imaginary vertical line were drawn through the center of the rear sight aperture, the line would bisect the front sight post. The firer insures that he has perfect sight alinement by concentrating his attention and focusing his eye on the front post through the indistinct or fuzzy appearing rear sight aperture. By.doing this any errors in sight alinement can be easily detected and corrected. 2-I-11 1. CORRECT SIGHT ALIGNMENT OF THE AIMING POINT Figure 1. 2-I-12 \ \ ' \ iSO METERS 250 METERS \ \ \ \ PATH OF BULLET\ LINE OF SIGHT \ \ \ \ \ \ ! - I-- 2S METERS 2S METERS \ \ \ \ \ \ \ PERFECT SIGHT PICTURE ERROR IN PLACEMENT OF ERROR CAUSED BY AIMING POINT IMPROPER SIGHT ALINEMENT Figure2. 2-1-13 c. Placement of the Aiming Point. The aiming point (target on whichthe firer has alined his rifle sights) is correctly placed when it is centered onand appears to touch the top of the front sight post. If the aiming point iscorrectly positioned, an imaginary vertical line drawn through the center ofthe front sight post will appear to cut it in half. USING LOW LIGHT LEVEL SIGHT SYSTEM DAYLIGHT FIRING (PROMETHIUM) Use aperture mar~ed L. Eflectove range is 22 on 250 meters (orogonal battle soght z'ro)·beyondwhoch "Hold-Off'. (aomong above l:lesired potnt ofompact) must be used. Aom about 11 on. at 350 ·IMPACT POINT~ meters. 22 on. at 460-meters. To become andre·350M 460 M main prolocoent. practoce ''Hold·Ofl" NIGHT AND LIMITED VISIBILITY Use unmarked (7mm) apenure Obtaon tain light condotoons. front sight post can begood soght pocture usong daylight hours pro· seen. but you can't determone whether you arecedure Alter target detectoon. obtaon good lookong through. above. or to the sode of rear soght alignment by centerong top of lumonous soght aperture. Practoce posotoonong stockponoon of front soght post wothon 7mm aper· agaonst shoulder and lookong through rearture on target (Voew A). a'>d lore Under cer. aperture REFERENCES FM 23-9, M16A1 Rifle and Rifle Marksmanship, 14 June 74. (Chap 3, sec II,pages 57-61)TM 9-1005-249-10, Operator's Manual M16A1 Rifle, C.1, C.2, 10 May 72. (pages31-32) 2-I-14 091-503-1001 MAINTAIN PROTECTIVE MASK AND ACCESSORIES. CONDITIONS: Given an ABC-M17A1 protective mask with accessories and items authoriz ed to be stored in the carrier (per unit SOP), a pail of soapy water, a pail of clear water, several rags, a small brush, a dry lint-free cloth, and TM 3-4240-279-10. STANDARDS: Within 15 minutes: 1. Make a visual inspection of mask, accessories, and authorized items and note all discrepancies, correcting those not requiring higher-echelon support. 2. Using procedures outlined in TM 3-4240-279-10, mask and carrier will be free of dirt, sand, and grit. TRAINING 1. Inspecting Mask and Carrier. a. Remove the mask from the carrier and check to insure that only authorized items are stored in the carrier. b. Check the carrier for superficial dirt, mildew, rips, torn straps, and missing hardware. c. Check the facepiece for holes, tears, splits, and signs of deterioration of rubber parts. d. Check the filter elements to make sure that they are serviceable and properly installed. '' e. Check the head harness for dirt and mildew; worn, frayed, or broken straps; and missing clinch tips. f. Notify your supervisor of any damage that calls for repair or replacement of parts. 2-I-15 2. Cleaning the Mask (Without Removing Filter Elements). a. Do not remove the hood if it is assembled to the mask. b. Remove the voicemitter-outlet cover, inlet valve caps, and eye-lens outserts. c. Clean the mask inside and out with a cloth dipped in warm, soapy water (wrung almost dry) or a brush with soft bristles, being careful not to wet the filter elements. d. Rinse with a cloth dipped in warm, clear water (wrung almost dry). e. Wipe the facepiece with a clean, lint·free cloth or air-dry. f. If the nosecup valve disks become detached while the mask is being cleaned, reinstall them and reassemble the mask. 3. Cleaning the Carrier. a. Empty the carrier pockets. b. Brush the carrier both inside and outside to remove sand or grit. c. If the carrier becomes soiled, clean it with a brush dipped in clear, cold water. REFERENCES FM 21-40, Chemical, Biological, Radiological, and Nuclear Defense, 17 May 71. (Chap 4, sec I, pages 4-4 to 4-6) TM 3-4240-279-10, Mask Chemical-Biplogical Field, ABC-M17A1, M17 and Accessories, Aug 75. (Chap 3, pages 3··1 to 3-14) TEC Lesson 931-061-0065-A NBC: Maintenance of the M17 Series Mask I 2-I-16 SECTION II. SKILL LEVEL THREE TASKS 071-327-0202 Lead Physical Conditioning Activities 2-II-3 874-896-2001 Conduct a Performance-Oriented Tra~ning Session 2-II-9 2-II-1 071-327-0202 LEAD PHYSICAL CONDITIONING ACTIVITIES. CONDITIONS: Given a platoon or company size unit in formation, with a requirement to conduct a specified physical activity. (Activity will be predesignated so that time is available for preparation.) STANDARDS: 1. Be physically fit to lead physical conditioning activities. 2. Give all preparatory commands to permit the average man to understand the first one before the second one is given. 3. Be able to form and control the extended rectangular formation, circle formation, and double-time column (while performing the run portion of physical conditioning activities). 4. Lead each exercise in accordance with FM 21-20. 5. Demonstrate each exercise (at least three repetitions) with cadence. 6. Follow guidance given concerning what, when, where, imd how long activity is to be conducted. TRAINING 1. How to prepare. Once guidance is given concerning the conditioning requirement, preparations must be made. a. What is the requirement? You must be familiar with the exercises in FM 21-20 if leading them is your requirement. This will require study and practice. Itis also your responsibility to insut"e that your assistant inst'ructors (if available) know the exercises so they can effectively supervise and demonstrate. Ifyour requirement is, or includes, a conditioning run, you must insure that your road guards (if used), pace men, lead rank, and assistant instructors are proficient enough runners to set a good pace (and example) to the rest of the group. 2-II-3 b. When? An assigned starting time is just that. It is your responsibility to insure that the requirement does start on time and a system is set up to deal with late arrivals. Your assistant instructors should note the name of any individual who is late, then place him in the formation. He still needs to take part in the conditioning; he can be sent to his supervisor to explain and be dealt with after the formation. c. Where? Once given a location to perform the requirement, you must determine if it is feasible to do it there and what plans must be made to best fit the requirement to the area. The area must be large enough. If it is a controlled area, you must insure that only you have planned to use it during your requirement time period. Ifthe area becomes useless during bad weather (for example, knee deep in mud when it rains), an alternate area must be secured. d. How long? You will be given a period of time in which to complete the requirement. Plans should be made with an eye to coming as close as possible to the required time without going over it since improper use of time can snowball through a training day and wreck a unit's schedule and morale. Timing is a function of practic~. Rehearse exercises. On a run, match a realistic pace to an appropriate distance. you, not the pace man, are responsible for the pace. Allow yourself a small time leeway and don't make the instructor for the next period suffer for your lack of timing. 2. Preparatory commands and commands of execution. The preparatory command describes and specifies what is required,' and the command of execution calls into action what has been prescribed. All preparatory commands are given with a rising inflection. The interval between commands is long enough to permit the average man to understand the first one before the second one is given. 3. Extended Rectangular Formation (figure 1). The formation used most frequently for carrying on physical training activities is the extended rectangular formation (figure 1). This formation is the best type to use for large numbers of men because it is easy to control. The following commands are given to form this formation. NOTE: In figure 1 the baseman is represented by a white circle. a. FALL OUT AND FALL IN ON THE BASEMAN. At this command, all personnel run to the designated area and re-form. This procedure is preferred to marching the unit into position. If more control is desired, the unit may march at double time to the vicinity of the baseman and then be directed to fall out and fall in on him. Time is wasted in the field due to needless maneuvering of troops at quick time in an effort to position the unit on the exact spot for' the exercises. 2-II-4 b. A company size unit assumes the extended rectangular formation from a column of three's or four's at normal intervals between squads. This extension can also be executed from a company mass without interval between . platoons. In extending either a platoon or company size unit take your place at the head of the column and command. A. FORMING A PLATOON II PACES • / 5 PACES "»r.ro • 0 PLATOON IN FORMATION ON BASE MAN PLATOON EXTENDED AND UNCOVERED B. FORMING A COMPANY-SIZE UNIT ~ . I II PACES I +---18 PACES Of-9 PACES..bf9 PACES...04-9 PACES -+0 POSITION OF PLATOON BASE MEN ~ • • • .0 • 0 ••• 0 •••o •••o •• eo • • • 0 • • • 0 • • •••• • ••• •••• •••• ·- PLATOONS IN FORMATION ON BASE MEN • • • • • • • • • • • • •"' • • • ALL PLATOONS EXTENDED AND UNCOVERED Figure 1. Forming the extended rectangular formation. 2-II-5 (1) EXTEND TO THE LEFT, MARCH. At this command, the men in the right flank file stand fast with arms extended sideward, All other men turn to the left and run forward at double time. After taking a sufficient number of steps, all men face the front with both arms extended sideward. The distance between fingertips is about 12 inches and dress is right. (2) ARMS DOWNWARD, MOVE. At this command, the arms are lowered smartly to the sides. (:!) LEFT, FACE. (4) EXTEND TO THE LEFT, MARCH. At this command, the men in the right flank file stand fast with arms extended sideward. All other men turn to the left and run forward at double time. Spacing is the same as in (1) above and dress is right. (5) ARMS DOWNWARD, MOVE. Same as in (2) above. (6) RIGHT, FACE. (7) FROM FRONT TO REAR, COUNT OFF. At this command, the leading man in each column turns his head to the right rear, calls off "one" and faces the front. Su<;cessive men in each column call off in turn, "two", "three", "four", "five",in the same manner. (8) EVEN NUMBERS TO THE LEFT, UNCOVER. At this command, each even numbered man stride-jumps to the left, squarely in the center of the interval. In doing this, he swings his left leg sideward and jumps from his right foot to his left foot and smartly brings the right into position against the left. c. To a~semble the unit, command: ASSEMBLE TO THE RIGHT, MARCH. At this command, all return to their original position in the column at double time and reform on the baseman. d. It is recommended that the area for grounding equipment and weapons be at the edge of, or well away from, the area to be used for exercising. To conserve time and insure proper position of the unit, the baseman or, if the unit is composed of several platoon size groups, the various basemen may precede the unit ~nd establish their positions in relation to the instructor's platform. 4. Circle formation. The circle formation is effective for the conduct of various exercise activities (figure 2). This formation has an advantage in that the supervision of all men is facilitated and a moving formation is available which provides control. Guerrilla exercises, grass drills, and some forms of running, are examples of activities which are more easily conducted in the circle formation than in the extended rectangular formation. 2-II-6 Figure 2. The circle formation. a. When a platoon is to form a circle, the commands are CIRCLE FORMATION, MARCH, FOLLOW ME. Upon this command the right flank squad of the column moves forward at double time with the leader of the platoon group gradually forming a circle in a counterclockwise direction. Each succeeding file falls in behind that on the right. After the rough outline of the circle is formed, the leader commands, PICK UP A FIVE YARD INTERVAL. This is to insure the interval between men is uniform prior to starting exercises. b. The group may be halted and faced toward the center, or, if instruc tion is not necessary, the exercise activity may be executed without stoppingthe platoon. 5. Conditioning run. This is nothing more than a column moving over a prescribed course at double time. Reflector-vested road guards must be placed ahead of and behind the column if the course follows a road or vehicle trail. A designated pace man runs in the right guide position and, under the direction of the instructor in charge, sets and maintains the pace for the run. Routes should be selected and announced, if necessary, in accordance with post and unit SOPs. 2-II-7 6. Leadership Techniques. a. Unless you experience all of the exercises you cannot appreciate how strenuous they are, what movements are the most difficult, where the errors in performance are likely to occur, and what the proper cadence should be. b. You must give all the men careful supervision and participate in the exercises to show that you can do them. When you participate, your assistant instructors should supervise because it is difficult for you to supervise and exercise simultaneously. c. The men should never be kept too long in one position, especially a constrained one. They should never ,have to perform so many repetitions of an exercise that they lose the correct form. Slight deviations from the proper form reduce the value of the exercise. d. A void long explanations. As a rule, it should be necessary to give a full explanation of new exercises only once. Minor corrections should be made to the entire class while the exercise is in progress (for example, "heads up", "knees straight"). Ifnecessary, follow this correction by the name of the man who is at fault. e. The heavy demand on your voice can be lightened by training assistant instructors to assume some of the instruction and by employing mass cadence. f. Insure each exercise is performed in accordance with FM 21-20. Review and practice is usually required in order to perform them properly. g. Use of a cue card (3 x 5 or scrap of paper) is recommended while leading exercises. This will prevent forgetting any exercise and help present a smooth period of training. REFERENCE FM 21-20, Physical Readiness Training, C.1, 30 Mar 73. (Chap 10, pages 35 to 41) 2-II-8 / ····--._ 874-896-2001 '',..-------------------------------------- CONDUCT A PERFORMANCE-ORIENTED TRAINING SESSION. CONDITIONS: Given: 1. A training objective with the following characteristics: a. Itmust be an individual training objective. b. It must not require the mastery of any intermediate training objective. c. Itmust be teachable within 30 minutes and judged by an individual (your evaluator/supervisor) who has demonstrated mastery of the training objective. 2. No more than 24 hours to prepare the training session. 3. No more than 10 and no less than 4 trainees who are unable to perform the training objective. 4. No more than 30 minutes to conduct the training session. 5. All other necessary resources to conduct the training (for example, training aids, an area to conduct the training, etc.). STANDARDS: 1. The trainer must conduct the training in three phases. In Phase I he must: a. Explain the training objective. b. Insure all trainees understand the training objective. c. Give appropriate instruction (e.g., demonstration, talk thru) to prepare the trainees to perform the training objective. 2. In Phase II, he must give the trainees sufficient time to practice performing. 2-11-9 3. Phase III, he must test the trainee's ability to perform the training objective. 4. Alltrainees who cannot perform the training objective at the conclusion of the training session must be identified. 5. The reason(s) for the failure(s) must be identified. TRAINING: 1. Insure that you clearly understand the training objective which you are to teach. Ifyou have any questions, ask your evaluator/supervisor. During Phase I, you inform the trainees. This includes explaining a. the training objective, insuring understanding and a demonstration. (You may decide to talk the trainees through the task instead of first demonstrating it.) Explanation of the training objective must include: the task which the trainees perform at the end of the session, the conditions under which they must operate (for example, _equipment given or denied and terrain), and the standard that they must achieve. Estimate the time it will take to complete Phase I. b. In Phase II, you allow the trainees to practice performing the train ing objective. (Do not estimate the amount of time required for this phase at this time.) c. In Phase III, you test the trainees to determine if each one can perform the training objective. Estimate the time that it will take to test all trainees. All remaining time will be allocated to Phase II of the training se sion. If you properly organize available time, all trainees should be able to accomplish the training objective within the time estimated. 2. Obtain any training aids that you need. (You may find it helpful to look in appendix C, FM 21-6, Training Techniques, Aids, and Devices.) Ifthe training objective which you have been given is contained in the Skill Level 1, Soldier's Manual, look at the "training" portion of the training and evaluation outline for your particular training objective. This should also give you some helpful information. 3. Rehearse the training session. 2-II-10 4. Conduct the training session (in three phases as described above). 5. Evaluate the results of the training session. Remember that all trainees must perform the training objective and that it is critical to identify those who cannot. Note the reason(s) for any failure(s). Reasons for failure might be: insufficient resources (time, trainin'g aids, etc.); unrealistic standards, or lack of trainee motivation. REFERENCES FM 21-6, How to Prepare and Conduct Military Training, 3 Nov 75. (Chap 3, pages8-26) TEC Lesson 901-071-0091-F, Unit Development and Training, Part 1. TEC Lesson 901-071-0092-F, Unit Development and Training, Part 2. 145 2-II-11 CHAPTER THREE TASKS FOR GUITAR PLAYERS Section I. Skill Level One Tasks 3-I-1 Section'II. Skill Level Two Tasks 3-II-1 . Section III. Skill Level Three Tasks 3-III-1 3-1 875-441-1405 875-441-1406 875-441-1407 875-441-1408 875-441-1409 875-441-1410 875-454-1601 875-454-1602 875-454-1701 875-454-1702 875-454-1703 875-454-1705 875-454-1801 SECTION I. SKILL LEVEL ONE TASKS Interpret Rhythms and Meters 3-I-3 Identify Scales 3-I-4 Determine Key Names and Key Signatures 3-I-5 Identify Intervals 3-I-6 Identify Triads and Dominant 7th Chords 3-I-7 Interpret Directions for Performance 3-I-8 On Command, Execute all Movements of the Marching Band While Playing Representative Marches 3-I-9 On Command, Execute the Manual of Instruments and Marching Drill at the Halt 3-I-10 Play Bass Drum, Cymbals, Accessories, Latin Percussion, and Sound Effect Parts to Grade Level 4* Concert Band Literature (w/Preparation) 3-I-11 Play a Lead Sheet (w/Preparation) 3-I-12 Play Guitar Parts to Representative Stage Band/Combo Stock Arrangements (w/Preparation) 3-I-13 Tune Your Guitar 3-I-14 Perform Player Maintenance on the Guitar 3-I-15 3-I-1 875-441-1405 Interpret Rhythms and Meters CONDITIONS: You will be given a pencil and musical examples with time signatures containing examples of rhythms and meters. STANDARDS: Interpret and identify all rhythms and meters by marking the music inaccordance with the Performance Measures. PERFORMANCE MEASURES: 1. Draw the bar lines on the musical example to be correct according to the time signature. 2. Draw arrows over each measure to indicate where the beats(pulses) occur. REFERENCES: DA Pam 350-41, Basic Music, Chapter 3. 3-I-3 875-441-1406 Identify Scales CONDITIONS: Given a piece of music containing examples of scales listed in the Performance Measures, identify the scale. STANDARDS: You must correctly identify scales from musical examples. PERFORMANCE MEASURES: Identify: a. Major scales. b. Minor scales in: (1) Melodic form. (2) Natural form. (3) Harmonic form. c. Chromatic scales. d. Whole tone scales. REFERENCES: DA Pam 350-41, Basic Music, Chapter 5. 3-I-4 875-441-1407 Determine Key Names and Key Signatures CONDITIONS: Given a key signature written on a staff, determine the key name. Given a key name, determine the key signature. STANDARDS: Correctly identify all major and minor keys. PERFORMANCE MEASURES: Identify: a. All major keys. b. All minor keys. REFERENCES: DA Pam 350-41, Basic Music, Chapter 5. 3-I-5 875-441-1408 Identify Intervals CONDITIONS: You are given a piece· of music containing examples of the intervals mentioned in the Performance Measures. The intervals may be melodic or harmonic. STANDARDS: You must correctly identify all intervals. PERFORMANCE MEASURES: Identify: a. Perfect Intervals. b. Major Intervals. c. Minor Intervals. d. Augmented Intervals. e. Diminished Intervals. REFERENCES: DA Pam 350-41, Basic Music, Chapter 4. 3-I-6 875-441-1409 Identify Triads and Dominant 7th Chords CONDITIONS: You are given a piece of music containing examples of the triads and chords listed in the Performance Measures. STANDARDS: Identify all triads in root position, 1st inversion and 2nd inversion. Identify all dominant seventh chords occurring in root position. PERFORMANCE MEASURES: 1. Identify: a. Major triads. b. Minor triads. c. Augmented triads. d. Diminished triads. 2. Identify in root position: Dominant seventh chords. REFERENCES: DA Pam 350-42, Harmony, Chapters 1, 4, and 6. 3-I-7 875-441-1410 Interpret Directions for Performance CONDITIONS: Given commonly used examples of the directions for performance listed in the Performance Measures, select the correct response to them. The terms will be selected from Chapters 8 and 9, DA Pam 350-41, Basic Music. STANDARDS: Give the correct response to no less than 90 percent of list of terms. PERFO~~CE MEASURES: Describe the correct response to: a. Melodic Ornaments. b. Articulation and Accent Indicators. c. Tempo Indicators. d. Dynamic Indicators. e. Sty~e Indicators. f. Musical Abbreviations. REFERENCES: DA Pam 350-41, Basic Music, Chapters 8 and 9. 3-I-8 875-454-1601 On Command, Execute all Movements of the Marching Band While Playing Representative Marches CONDITIONS: You will march with the band while playing a march with which you are familiar on a percussion instrument. Commands will be given by the Drum Major using the Mace, Baton or oral commands, where appropriate. You will march on a parade field free from pot holes and obstructions. STANDARDS: Execute each movement upon command. Your movements must be performed with precision and proper military bearing in accordance with Chapter 5, Section III, FM 12-50. You must play continuously. Your posture must be erect and your playing position correct. You must march dressed and covered constantly. PERFORMANCE MEASURES: Execute the following movements upon command: a. Manual of Instruments. b. Sound Off at the Halt. c. Forward March and commence playing a march. d. Left Turn. e. Counter March. f. Right Turn. g. Mark Time. h. Forward March. i. Right Turn. j. Cut Off (drum cadence). k. Roll Off (execute manual of instruments). 1. Commence Playing March. m. Close Formation. n. Open For~ation. o. Half Step. p. Forward March. q. Mark Time. r. Forward March. s. Half Right Turn. t. Half Left Turn. u. Halt. v. Cut Off. REFERENCES: FM 12-50, The Military Band, Chapter 5, Section III. 3-I-9 875-454-1602 On Command, Execute the Manual of Instruments and Marching Drill at the Halt CONDITIONS: In band formation with a percussion instrument, you will execute all movements listed in the Performance Measures at least once. You must execute the movements at the proper time, whether by command, signal or cue. Music will not be needed. STANDARDS: Execute each movement correctly in accordance with Sections III and VII, Chapter 5, FM 12-50. PERFORMANCE MEASURES: 1. Execute Prepare to Play on signal of Drum Major or Bandmaster. a. Carry Position. b. Execute Ready Instrument on count one. c. Execute Prepare to Play on count two. d. Reverse the above procedure to return to Carry. 2. Execute Inspection Instrument. a. When commanded to prepare for inspection, place your music in your pouch and stand at Carry Instrument. b. When the first person in the inspecting party comes to a position in front of you, assume the Inspection Instrument position. c. When the last person in the inspecting party turns to leave, return to Carry Instrument. 3. Execute Left or Right Face on Command. REFERENCES: FM 12-50, The Military Band, Sections III and VIII, Chapter 5. 3-I-10 875-454-1701 Play Bass Drum, Cymbals, Accessories, Latin Percussion, and Sound Effect Parts to Grade Level 4* Concert Band Literature (w/Preparation) CONDITIONS: You will be given a concert band part played by many Army Bands. It will contain examples to be performed on Bass Drum, Cymbals,Accessories, Latin Percussion, and Sound Effects. You will have approximately 60 calendar days to prepare the piece for performance. STANDARDS: A recording of your performance will be evaluated by a panel of three highly trained senior Army Bandsmen and all three must agree that youhave met the following criteria: 1. DIRECTIONS FOR PERFORMANCE. Your response to all dynamic indications, expression indications, accents, articulation indications, repeats, fermatas, etc., must demonstrate an awareness of the meaning of those directions. 2. ARTICULATION. Your technique must be good enough to maintain the indicated rhythm or tempo. Correct playing areas, correct stroke techniques, correct playing implements and correct muffling, where applicable, must be so clearly demonstrated that there is no question of your intent. 3. TIME. You must execute all rhythms precisely. The tempo must be maintained within 12 beats per minute of the indicated tempoand must remain stable, unless a change is directed by the music. PERFORMANCE MEASURES: Play the passage as well as possible, striving for an error free performance. REFERENCES: See Appendix A. See Appendix B. *As indicated in Band Music Guide published by "The Instrumentalist". 3-I-11 875-454-1702 Play a Lead Sheet (w/Preparation) CONDITIONS: You will be given the lead sheet to a popular song. You will have approximately 60 calendar days to prepare the song for performance. STANDARDS: A recording of your performance will be evaluated by a panel of three highly trained senior Army Bandsmen and all three must agree that you have met the following criteria: 1. PITCH. The melody line must be played precisely as written. Intonation must be sufficiently accurate to leave no doubt about your intended pitch. \ 2. CHORDS. Every indicated chord must be stated no less than once. Repeated chords must be stated no less than once per measure. The chords may be played chord-melody or block chord style. You must play a sufficient number of the chord tones to prove you are aware of the chord voicing. 3. TIME. The rhythm of the melody must be as written. The chord rhythm is optional. The song must be played within 12 beats per minute of the indicated tempo. PERFORMANCE MEASURES: Play the song as well as possible, striving for an error free performance. REFERENCES: See Appendix A. 3-I-12 875-454-1703 Play Guitar Parts to Representative Stage Band/ Combo Arrangements (w/Preparation) CONDITIONS: You will be given the guitar part to a stage band number or stock combo tune played by many Army Bands. You will have approximately 60 calendar days to prepare the piece for performance. STANDARDS: A recording of your performance will be evaluated by a panel of three highly trained senior Army Bandsmen and all three must agree that youhave met the following criteria: 1. DIRECTIONS FOR PERFORMANCE. Your response to all dynamic indications, character indications, repeats, codas, etc., must demonstrate an awareness of the meaning of those directions. 2. PITCH. You must play written melodic lines accurately whenever they occur. Intonation must be sufficiently accurate to leave no doubt about your intended pitch. 3. CHORDS. Written chords must be played as written. Chords indicated by symbol may be played in any inversion. You must play a sufficient number of chord tones to prove you are aware of the chord voicing. 4. TIME. You must execute all written rhythms correctly. Your tempo must be within 12 beats per minute of the indicated tempo and must remain stable throughout the exercise. Rhythms indicated for use with chord symbols must be played correctly as indicated (i.e.samba, bossa-nova, fatback, mambo, polka, etc.). PERFORMANCE MEASURES: Play the number as well as possible, striving for an error free performance. REFERENCES: See Appendix A. See Appendix B. 3-I-13 875-454-1705 Tune Your Guitar CONDITIONS: Given your instrument, a piano, a pre-calibrated stroboscope, and an assistant or test administrator. STANDARDS: Tune your instrument within 5 cents tolerance in no more than 5 minutes. PERFORMANCE MEASURES: 1. Your assistant or the test administrator will: a. Prepare the strobe according to the procedure outlined in yourSection Leader's Handbook. b. Sound the pitch of your choice on the piano intermittently for 15 to 30'seconds. 2. You must perform the following steps: a. Determine the pitch of the selected string in relation to the pitch of the piano by playing, listening, and comparing the two pitches. b. Tune the remaining strings of the guitar using any system youdesire. 3. Your assistant or test administrator will measure your accuracywith the strobe. REFERENCES: TC 12-02N/T, The Piano/Guitar Section Leader's Handbook, Chapter 2. 3-I-14 875-454-1801 Perform Player Maintenance on the Guitar CONDITIONS: You will be given a guitar (acoustical/electric) with one or more mechanical problems for you to diagnose and solve. You will also be given all necessary tools and equipment. You may be g1ven a description of a guitar (acoustical/electric) malfunction and asked to describe the materials and procedures you should use to correct it. STANDARDS: Correctly perform or describe proper maintenance procedures and/or safeguards in accordance with the Performance Measures. PERFORMANCE MEASURES: 1. Inspect for and diagnose: a. Worn strings. b. False strings. c. Mismatched strings. d. Dirty guitar. e. Warped neck. f. Neck becoming unglued at the body. g. Neck that has pulled up. h. Bridge that is starting to pull loose. i. Worn frets. j. Worn or broken nut. k. Worn or maladjusted Bridge Saddle. 1. Pickup and pole-piece screws adjustment. (Electric only) m. Smoothness of operation of controls. (Electric only) 2. Replace worn, false, mismatched, or broken strings: a. Turn machine head to loosen strings. b. Remove string retaining peg or remove anchored end of string from tailpiece. c. Remove and discard old string. d. Clean and polish the guitar. (1) Remove all dust, dirt, polish buildup, and other foreign matter from guitar with a clean cloth. (2) Polish the guitar with guitar polish or furniture polish. e. Insert the anchored end of the new string in appropriate slot in tailpiece; or insert the anchored end of the new string in the appropriate peg-hole and replace the peg. 3-I-15 f. Insert the other end of the string through the hole in the spindle of the tuning machine only once. g. Allow enough slack in the string to form a coil of three or four wraps when tightening the tuning machine to bring the string up to pitch. h. Cover the strings with your free hand when tightening them to control accidental snaps or slips. 3. Adjust the neck: a. Adjust the truss rod (acoustical/flattop). (1) Loosen strings, if necessary. (2) Turn the appropriate wrench until the tension of the strings has been compensated. (1/4 turn at a time) (3) Retighten the strings to check relief correction. (4) Repeat steps (1) -(3) until correct relief is attained. b. If the neck is warped or corning unglued at the body, take the guitar to the supply ser.geant for repair or replacement. 4. If the bridge is starting to pull loose, take the guitar to the supply sergeant for repair or replacement. 5. A broken nut or excessively grooved nut should be referred to the supply sergeant for replacement. 6. Adjusting or replacing the Bridge Saddle. a. Insert paper or wood shims for slight adjustments in height. b. To lower the string height or replace the Bridge Saddle, take your guitar to the supply sergeant. Applies only to Electric Guitar 7. Adjust the pickup and pole-piece screws. a. Fret the first and sixth strings at the highest fret. b. Adjust the two height adjustment screws on each pickup so that each pole-piece is approximately 1/16 inch below each string. c. Adjust the pole-piece screws (if possible). (1) The tops of the screws should be about 1/16 inch below the strings when fretted at the highest fret. (2) The screws should project slightly from the top surface of the pickup. 8. Adjust and clean controls for smoothness of operation. 3-I-16 a. b. c. Plug guitar into amplifier. Set controls on guitar to maximum. Play the guitar and check for volume on all pickup combinations. (1) (2) (3) Front alone. Rear alone. Front and rear. d. e. f. To increase treble response, slightly lower the bass side of each pickup. To increase bass response, slightly lower the treble side of each pickup. Check switches and controls for smooth operation without noise or intermittent loss of volume, (1) (2) A small amount of contact and control cleaner may be applied by spraying to clear switch contacts or potentiometers (controls). Partial disassembly may be required to reach a switch or control. ---- REFERENCES: *Complete Guitar Repair, Hideo Kamimoto. TC 12-02N/T, The Piano/Guitar Section Leader's Handbook, Chapter 2. 3-I-17 SECTION II. SKILL LEVEL TWO TASKS 875-441-2108 Issue Library Materials 3-II-3 875-454-2402 Transcribe Your Part From Stage Band Conductor's Part 3-II-4 875-454-2701 Play Guitar Parts to Representative Concert Band Literature (w/Preparation) 3-II-5 875-454-2702 Play Bass Parts to Representative Stage Band Music (w/Preparation) 3-II-6 875-454-2703 Play Grade Level 5* Guitar Arrangements of Popular Songs and Show Tunes (w/Preparation) 3-II-7 875-454-2704 Play a Lead Sheet at Sight 3-II-8 3-II-1 875-441-2108 Issue Library Materials CONDITIONS: You will be given a pencil, an individual custody card, and two method books to be issued. STANDARDS: Complete the individual custody card for the two method books in accordance with Chapter 8, FM 12-50. PERFORMANCE MEASURES: 1. Print the name of the member on the custody card last name first. 2. List the serial numbers and names of the two method books. 3. Enter the date. 4. Have the member sign the individual custody card. 5. File the "individual custody card alphabetically. 6. Issue the method books to the member. REFERENCES: FM 12-50, The Military Band, Chapter 8. 3-II-3 875-454-2402 Transcribe Your Part From Stage Band Conductor's Part CONDITIONS: The guitar part is missing from a stage band arrangement. Given a conductor's part, manuscript paper, and pencils, transcribe the guitar part from the score. STANDARDS: You must transcribe all chord symbols, pertinent lead lines, rhythms, and directions for performance accurately within a reasonable administrative time limit. PERFORMANCE MEASURES: 1. Transcribe the key and time signatures to the manuscript paper. 2. Transcribe the chord symbols by measure. 3. Transcribe any lead lines that pertain to guitar solos or ensemble sections. 4. Match rhythms to obvious rhythmic motives, backgrounds, and musical phrases. 5. Insure that all directions for performance are written correctly and in the proper measure or measures. REFERENCES: DA Pam 350-41, Basic Music, Chapters 2 and 3. 3-II-4 875-454-2701 Play Guitar Parts to Representative Concert Band Literature (w/Preparation) CONDITIONS: You will be given a guitar part from a contemporary concert band number. The part may be written, in symbols, or in a combination. You will have 60 calendar days to prepare the number for performance. STANDARDS: A recording of your performance will be evaluated by a panel of three high~y trained senior Army Bandsmen and all three must agree that you have met the following criteria: 1. DIRECTIONS FOR PERFORMANCE. Your response to all dynamic indications, character indications, repeats, codas, etc., must demonstrate an awareness of the meaning of those directions. 2. PITCH. Written parts must be played as written. Your intonation must be sufficiently accurate to leave no doubt about your intended pitch. 3. CHORDS. Every indicated chord must be played. You must play a sufficient number of the chord tones to prove you are aware of the chord voicing. 4. TIME. The written lines of the part must be performed rhythmically as written. The part must be played within 12 beats of the indicated tempo. If a direction for a particular beat is indicated (suchas rock, samba, merengue, etc.), that beat must be played correctly. PERFORMANCE MEASURES: Play the number as well as possible, striving for an error free performance. REFERENCES: See Appendix A. See Appendix B. • 3-II-5 875-454-2702 Play Bass Parts to Representative Stage Band Music (w/Preparation) CONDITIONS: You will be given the written bass part to a stage band number played by many Army Bands. You will have approximately 60 calendar days to prepare the piece for performance. You may perform the part on string bass, electric bass guitar, or on the low strings of a 6 string guitar, at your option. STANDARDS: A recording of your performance will be evaluated by a panel of three highly trained senior Army Bandsmen and all three must agree that you have met the following criteria: 1. DIRECTIONS FOR PERFORMANCE. Your response to all dynamic indications, character indications, stage band devices, etc., must demonstrate an awareness of the meaning ~f those directions. 2. PITCH. The part must be played exactly as written. Your intonation must be sufficiently accurate to leave no doubt about your intended pitch. 3. TIME. The part must be played rhythmically as written. The part must be played within 12 beats per minute of the indicated tempo. PERFORMANCE MEASURES: Play the number as well as possible, striving for an error free performance. REFERENCES: See Appendix A. See Appendix B. 3-II-6 875-454-2703 Play Grade Level 5* Guitar Arrangements of Popular Songs and Show Tunes (w/Preparation) CONDITIONS: You will be given a grade level 5* (difficult) arrangement of a popular song or broadway show tune. You will have approximately 60 calendar days to prepare the number for performance. The number may be performed on accoustic or amplified guitar. STANDARDS: A recording of your performance will be evaluated by a panel of three highly trained senior Army Bandsmen and all three must agree that you have met the following criteria: 1. DIRECTIONS FOR PERFORMANCE. Your response to all dynamic indications, character indications, fermatas, repeats, codas, etc., must demonstrate an awareness· of the meaning of those directions. 2. PITCH. The part must be played exactly as written. Your intonation must be sufficiently accurate· to leave no doubt about your intended pitch. You may miss no more than two notes because of mis-fingering or plucking. 3. TIME. You must execute all rhythms correctly. The tempo must be within lJ beats per minute of the indic~ted tempo and must remain stable unless a change is directed by the music. PERFORMANCE MEASURES: Play the passage as well as possible, striving for an error free performance. REFERENCES: See Appendix A. See Appendix B. *As indicated in Band Music Guide published by "The Instrumentalist". 3-II-7 875~454-2704 Play a Lead Sheet at Sight CONDITIONS: You will be given the lead sheet to a simple popular song with easy chord changes. You will have three minutes to examine the music. You will have a metronome available. STANDARDS: A recording of your performance will be evaluated by a panel of three highly trained senior Army Bandsmen and all three must agree that you have met the following criteria: 1. DIRECTIONS FOR PERFORMANCE. Your response to all dynamic indications, character indications, fermatas, repeats, codas, etc., must demonstrate an awareness of the meaning of those directions. 2. PITCH. The melody line must be played precisely as written. Intonation must be sufficiently accurate to leave no doubt about your intended pitch. 3. CHORDS. Every indicated chord must be stated no less than once. The chords may be played chord-melody or chord style. You must play a sufficient number of the chord tones to prove that you are aware of the chord voicing. 4. TIME. The rhythm of the melody must be as written. The chord rhythm is optional. The song must be played within 12 beats per minute of the indicated tempo. PERFORMANCE MEASURES: Play the song as well as possible, striving for an error free performance. REFERENCES: See Appendix A. 3-II-8 875-441-3103 875-441-3109 875-441-3110 875-030-3201 875-030-3202 875-030-3203 875-030-3204 875-441-3401 875-441-3410 875-454-3501 875-454-3503 875-454-3505 875-454-3508 875-454-3509 875-454-3510 875-454-3701 875-454-3703 SECTION III. SKILL LEVEL THREE TASKS Supervise a Loading/Staging Detail Account for Library Materials Procure Library Materials Locate Publications/Blank Forms Using DA Pam 310 Series Prepare Military Correspondence Maintain Reference Publications Maintain Functional Files System Analyze Traditional Four-Part Writing Identify Performance Errors in the Execution of Single-Line Music Organize Your Concert/Marching Band Piano/Guitar Section Lead a Combo Rehearsal Lead a Small Ensemble in a Performance Inspect Instruments for Cleanliness Inspect Instruments for Serviceability Inspect Non-instrument Section EquipmentPlay Solo.Guitar Literature in the Classical or Popular Idiom (w/Preparation) Play Grade Level 4* Guitar Music at Sight 3-III-3 3-III-5 3-I II-6 3-III-7 3-III-9 3-III-10 3-III-11 3-III-12 3-III-13 3-III-14 3-III-15 3-III-17 3-III-19 3-III-20 3-III-21 3-III-22 3-III-23 3-III-1 875-441-3103 Supervise a Loading/Staging Detail CONDITIONS: You will be given an inclosed van and a crew of 6 men, one of which is a drummer. STANDARDS: Load the concert equipment using space efficiently while keeping equipment secure. Unload and set-up the equipment without complications attributable to your negligence. PERFORMANCE MEASURES: 1. Have the drummer specify what equipment his section will require. 2. Ask the Operations NCO or Enlisted Bandleader whether a podium is required. 3. Organize your detail in an efficient work-flow pattern. a. Assign personnel. to bring the equipment to the van and those individuals who will load and pack the van. b. Adjust assignments, as needed. c. Organize "in" and "out" paths to avoid congestion. 4. Separate soft cases, wood cases, and vulcanized fiber cases. 5. Plan packing to prevent shifting. 6. Load timpani cases first, then load the timpani into the cases on the truck. This will minimize risk of muscle strain. 7. Pack long cases, such as chimes and contrabass clarinet, on the sides and floor. 8. Pack stands and music last. 9. Find convenient access doors to the stage. a. Use the closest that will accommodate the widest equipment. b. Choose access doors that will avoid lifting and congestion. 3-III-3 10. Estimate lighting and public address needs; position the equipment accordingly. a. Find electrical access points. b. Keep the stage curtain clear when possible. c. Position the correct number of chairs and stands. REFERENCES: TC 12-02N/T, The Piano/Guitar Section Leader's Handbook, Chapter 3. 3-III-4 875-441-3109 Account For Library Materials • CONDITIONS: You have just received several new concert band selections and several records for the band library. You will be given a pencil, 3x5 file cards, a typewriter, rubber stamps, inventory sheets and a listing of all selections and records in the iibrary. STANDARDS: Inventory the selections and records received. Assign file numbers, and file the selections and records in their proper sequence in accordance with FM 12-50, The Military Band, Chapter 8. PERFORMANCE MEASURES: 1. Inventory the selections and records. a. Prepare Inventory Sheets. b. Notate the number of copies of each part on the inventory sheets. c. Arrange the selections in score order. 2. Assign file numbers to the selections and records. a. Assign and stamp the proper file number to each selection and recor~in accordance with FM 12-50, The Military Band, Chapter 8. b. Complete Tit~e and Arranger/Composer file cards on each selection received. c. Complete Title and Artist file cards on each record received. d. Add selections and records received to the listing of all selections and records in the library. 3. Store selections and records in their proper sequence. REFERENCES: FM 12-50, The Military Band, Chapter 8. 3-III-5 875-441-3110 Procure Library Materials CONDITIONS: The bandmaster has directed you to requisition the DOD authorized arrangement of the French National Anthem and several selections for the concert band. You will be given paper, pencil, a typewriter and a copy of Band Music Guide. STANDARDS: List the title, composer/arranger, size, date of publication or revision, number of copies required, and suggested source of procurement for the selections listed by the bandmaster. Provide the supplysection with a copy of the list in order to requisition the selections. Requisition the French National Anthem from the proper source of procurement. PERFORMANCE MEASURES: 1. Use the Band Music Guide to provide requisition information. a. Title of selection. b. Composer/arranger. c. Publisher. d. Size. e. Date of publication or latest revision. f. Symphonic or concert arrangement. g. Number of copies. 2. Provide the supply section with a copy of the list. 3. Requisition the French National Anthem. a. Select the correct source of procurement. b. Prepare the correspondence for the bandmaster's signature. REFERENCES: FM 12-50, The Military Band, Chapter 8. *Band Music Guide, The Instrumentalist. AR 340-15, Preparing Military Correspondence. 3-III-6 875-030-3201 Locate Publications/Blank Forms Using DA Pam 310 Series CONDITIONS: You have access to the following: DA Pam 310-1. DA Pam 310-2. DA Pam 310-3. DA Pam 310-4. All Publication Bulletins issued since the date of the latest change to each pamphlet. Given a request for information requ1r1ng the use of the bulletins and pamphlets listed above, locate the publication(s)/blank form(s). A sample request might be: "Your commander is writing an SOP on wearing the uniform. He wants you to list the important publications he will need." ST~DARDS: Within a reasonable administrative time limit, list one or more publications that will reference a given problem. PERFORMANCE MEASURES: 1. Select the appropriate index by type of publication. a. DA Pam 310-1 for administrative publications such as Army Regulations, DA Circulars, and DA Pamphlets. b. DA Pam 310-2 for blank forms. c. DA Pam 310-3 for doctrinal, training, and organizational publications such as Field Manuals, Training Circulars, TOE, ARTEP's, and Tables of Allowances. d. DA Pam 310-4 for technical publications such as Technical Manuals, Supply Bulletins, and Supply Catalogs. 2. Find the subject series in the fourth column of Section II and select the title(s) that indicate(s) the information to be found in that publication. 3. Determine whether there is a change or supercession to the publication or form by examining publication bulletins that post-date your DA Pam 310. 3-III-7 4. Determine whether you have the publication or blank form. If thedistribution in the fifth column is "A", your orderly room may have it. If not, you must consult your AG Library. 5. Consult another subject series if you are unable to find alogical title. 6. Consult another 310 index if you are still unable to findinformation. REFERENCES: DA Pam 310-1. DA Pam 310-2. DA Pam 310-3. DA Pam 310-4. TC 12-71-17 PT, Department of the Army Publications. 3-III-8 875-030-3202 Prepare Military Correspondence CONDITIONS: You will be given some situational data, decision, or reply to be communicated. You ~ill also be given a piece of prepared correspondence to proofread. AR 340-15 and a dictionary are available. STANDARDS: Select the correct format in accordance with AR 340-15. All mistakes in spelling, capitalization, and format must be identified and corrected. PERFORMANCE MEASURES: 1. Select the correct format from among: a. Military letter. b. Indorsement to a letter. c. Non-military letter. d. Disposition form. e. Comment to a disposition form. f. Short note reply. 2. Proofread the copy, correcting mistakes in: a. Spelling and capitalization. b. Office symbol, signature block, authority line, and address. c. Abbreviations, compound words, prefixes, and suffixes. d. Paragraph format. REFERENCES: AR 340-15, Preparing Military Correspondence. TC 12-71-11 PT, Military Correspondence. 3-III-9 875-030-3203 Maintain Reference Publications CONDITIONS: You will be given a pencil, Regulation, Pamphlet, Supplement, or similar publication and two or three changes to post. STANDARDS: Within 30 minutes, post the changes in accordance with the Performance Measures. PERFORMANCE MEASURES: Post the changes in accordance with the following: a. Post the change number and date to the cover of the basic publication and line through any superseded change, showing the supersession authority. b. Line or "Z" through superseded chapters, sections, paragraphs, etc., and print the supersession and change number neatly on the border. c. Line or "Z" through rescissions in the same manner. d. Post additions in the basic publication in proper sequence, neatly notating the word "Added" and the change number. e. Print minor changes above or beside the original. Print the authority and line out the deletion. f. In the event of insufficient space, print "sentence(s) added" and the change authority in the margin. g. Post repetitive changes in the paragraphs, when cited. h. Add and delete loose pages per instructions. i. When completed, notate "Posted", your initials and date on the change sheet. j. Post message changes in the same manner. REFERENCES: DA Pam 310-13, Military Publications: Posting and Filing Publications. 3-III-10 875-030-3204 Maintain Functional Files System CONDITIONS: You will be given a typewriter, file folders, file labels, AR 340-2, a pencil, and several documents to be filed. STANDARDS: Within 30 minutes, prepare a file folder in accordance with the Performance Measures. PERFORMANCE MEASURES: Prepare the file folders in accordance with the following: a. Examine the document to be filed and look in Appendix A of AR 340-2 for the proper file number. b. Type the appropriate file number, file title, and disposition instructions on the label, using appropriate abbreviations. c. Place the label in the proper position on the file folder. d. Write the file number lengthwise on the document, unless it is a self-identifying document. Insert it into the folder. e. Type the file number and name onto your list of file numbers. REFERENCES: AR 340-2, Maintenance and Disposition of Records. 3-III-11 875-441-3401 Analyze Traditional Four-Part Writing CONDITIONS: You will be ~iven several examples of traditional four-part writing. These will include only diatonic triads and dominant seventh chords and their inversions. STANDARDS: You must correctly identify the items and/or errors as specified in the Performance Measures. PERFORMANCE MEASURES: 1. Identify the following items: a. A chord in close position. b. A chord in open position. c. A chord in root position. d. A chord in first inversion. e. A chord in second inversion. f. A passing 6/4 chord. g. A cadential 6/4 chord. h. An auxiliary 6/4 chord. i. An arpeggio 6/4 chord. j. The diatonic triads in root position or in inversion. k. A dominant seventh chord in root position or any inversion. 2. Identify the following errors: a. Incorrect doubling. b. Improper voice leading. c. Incorrect spacing. d. Crossed voices. e. Overlapping voices. f. Extreme ranges for voices. g. Parallel octaves. h. Parallel fifths. i. Incorrect hidden fifths and octaves. REFERENCES: DA Pam 350-42, Harmony, Chapters 2, 4, and 6. 3-III-12 875-441-3410 Identify Performance Errors in the Execution of Single-Line Music CONDITIONS: A member of your section is performing a 16-bar passage of music containing moderately complex rhythms, simple and compound intervals, and some chromatic alterations. You are observing the score as he plays and are marking errors as they occur. STANDARDS: You must mark each measure in which an error in pitch or rhythm occurs, and identify the nature of the error. PERFORMANCE MEASURES: Identify and mark each error as follows: a. Mark pitch errors with a "P". b. Mark rhythmic errors with an "R". REFERENCES: *A New Approach to Sight Singing, Berkowitz, Fontrier, Kraft. *Ear Training, Benward. *A New Approach to Ear Training, Leo Kraft. 3-III-13 875-454-3501 Organize Your Concert/Marching Band Piano/Guitar Section CONDITIONS: You are newly assigned to the band and the bandmaster had directed you to organize the piano/guitar section. STANDARDS: Organize your concert/marching band section in accordance with thePerformance Measures. PERFORMANCE MEASURES: 1. Coordinate with the percussion section leader the percussioninstruments your section will be required to play in themarching band. 2. Insure that personnel of your section can play all the requiredpercussion parts for the instruments they are required to playin the marching band. 3. Coordinate with the percussion section leader the percussionparts your section will be required to play in the concert band. 4. Insure that personnel of your section are capable of performing these percussion parts. 5. Insure that all folders and pouches have the correct music. REFERENCES: TC 12-02N/T~ The Piano/Guitar Section Leader's Handbook, Chapter 2. 3-III-14 875-454-3503 Lead a Combo Rehearsal CONDITIONS: You are the combo leader. Your bandmaster has scheduled a 60 minute combo rehearsal for this afternoon. He has mentioned several specific problems he wishes you to clear up. STANDARDS: Identify your objectives and formulate a specific rehearsal plan that reflects the correct priorities. Lead the rehearsal in an effective manner, following the Performance Measures. The order of the Performance Measures is not important. PERFORMANCE MEASURES: 1. Write lead sheet sketches for the tunes to be rehearsed, assign the players to write the sketches or insure that your players · can improvise without a sketch when talked through a "head" arrangement. 2. Perform administrative duties first (roll call, if necessary, instructions for the next job, etc.). 3. Announce your rehearsal objectives. 4. Talk through the playing assignments according to the form of the piece. Make assignments general to maintain flexibility and spontaneity. 5. Arrange your players properly. a. Seat the bass or guitar player to the left of the piano so he can watch the piano player's left hand. b. Seat the drummer to the right of the piano so the piano player can watch the drummer's hi-hat. 6. Play through the first number to warm up and relax. 7. Play each number all the way through to establish form. a. Remember difficult passages. b. Be sure players have a correct total concept of the style and music. 3-III-15 8. Listen to each player for style agreement and good ensemble. a. Players should support each other. b. The sound should be homogenous. c. Rhythms should support melody. 9. Isolate problems and solve them one at a time. a. Play slowly at first and increase speed. b. If the problem is rhythmic, subdivide and play slowly. c. If the problem is balance, request another section leaderor group leader to listen and make corrections. d. Use training aids, such as recordings (music-minus-one, etc.)to copy songs and styles. 10. Establish eye contact for cues. 11. Work easily solvable problems first to instill confidence and psychological relaxation. 12. Work your highest priority second. This is normally expressedby your bandmaster. 13. If lead sheets must be used, write the simplest possible sketch. 14. If problems are individual, provide for individual practice orprivate instruction. 15. Finish the rehearsal with a complete number to show your playerswhat they have accomplished. 16. Note what you must practice at the next rehearsal. 17. Stay relaxed throughout the rehearsal but maintain discipline. 18. Never over-rehearse a non-problem piece. REFERENCES: TC 12-02N/T, The Piano/Guitar Section Leader's Handbook, Chapter 2. 3-III-16 875-454-3505 Lead a Small Ensemble in a Performance CONDITIONS: You will be given the time, personnel, and facilities to organize, rehearse, and lead a small ensemble. Guidelines to follow are provided in the Performance Measures. STANDARDS: The ensemble must consist of a practical instrumental combination (quartet, quintet, sextet, etc.). The criteria for this task will be met when the Performance Measures have been successfully completed in listed sequence. PERFORMANCE MEASURES: 1. Select your people. Get the concurrence of the bandmaster. 2. Conduct pre-rehearsal activities. a. Check with the Operations Sergeant for all the information available. Make an on-site check if possible. b. Plan your program. See what music is available and can be prepared in time. Check for requests. Estimate the interest level of your audience. See what music your group already plays wel.l. c. Check with Operations on transportation, meals, departure time, etc. 3. Lead the rehearsals. a. Give thorough administrative instructions. b. Warm up, if necessary, and tune. c. Play through each number you plan to use. Estimate the amount of rehearsal needed on each. Discard numbers that you know will not be ready in time or that are little value to the program. d. Rehearse each number as intensely as practical. Don't waste your limited rehearsal time over-rehearsing one or two numbers. e. Keep the rehearsal moving. Stop when you hear an error, correct it, and continue. f. Know your own part well enough to concentrate on the group. 3-III-17 4•.Play the job. a. Check the appearance and equipment of your group. b. Check with your point of contact on last minute changes or instructions. c. Gage your audience constantly. Adjust your program if they are getting tired, restless, or bored. Watch for obvious signs of playing too loudly or too softly and adjust. Be flexible. 5. Follow up. a. Critique and thank your group. b. Give a report to the Enlisted Bandleader. REFERENCES: TC 12-02N/T, The Piano/Guitar Section Leader's Handbook, Chapter 3. 3-III-18 875-454-3508 Inspect Instruments for Cleanliness CONDITIONS: You are directed to inspect all guitars, electric basses, and string basses in the band to insure that they are clean. STANDARDS: Inspect all guitars, electric basses, and string basses in accordance with the Performance Measures. Insure that any 1nstrument that is not clean will be cleaned by the responsible or designated individual in accordance with Task 875-454-1801 and reinspected. PERFORMANCE MEASURES: 1. Inspect instruments in use to insure that: a. Instrume.nt surfaces are clean and dry. b. Strings are clean and dry. c. Machine heads and machines are clean and dry. d. Pickups are clean and dry (electric guitars). e. Fret boards are clean and dry. 2. Inspect instruments in storage to insure that: a. Instrument surfaces are clean and dry. b. Strings are clean and dry. c. Machine heads and machines are clean and dry. d. Pickups are clean and dry (electric guitars). e. Fret boards are clean and dry. REFERENCES: TC 12-02N/T, The Piano/Guitar Section Leader's Handbook, Chapter 1. *Complete Guitar Repair, Kamimoto. 3-III-19 875-454-3509 Inspect Instruments for Serviceability CONDITIONS: You are directed to inspect all guitars, electric basses, and string basses in the band for serviceability. STANDARDS: Inspect all guitars, electric basses, and string basses following the items outlined in the Performance Measures. Provide supply with a list of all discrepancies. PERFORMANCE MEASURES: 1. Inspect all instruments for serviceability. Insure that: a. Strings are unworn. b. Strings are properly matched. c. Neck is straight. d. Neck is glued tightly to the body. e. Frets are clean and unworn. f. Nut is intact and unworn. g. Bridge saddle is adjusted. h. Controls operate smoothly. i. Pickup and pole-piece screws are properly adjusted. 2. Provide a list of all discrepancies to supply for necessary action. REFERENCES: TC 12-02N/T, The Piano/Guitar Section Leader's Handbook, Chapter 2. 3-III-20 875-454-3510 Inspect Non-instrument Section Equipment CONDITIONS: You are directed to inspect all non-instrument equipment and accessories. STANDARDS: All unserviceable equipment must be identified and reported to supply. All serviceable equipment must be clean and free from clutter. PERFORMANCE MEASURES: 1. Inspect stands and lyres to insure that: a. All surfaces are clean and free from rust and corrosion. b. Soldered braces are tight and intact. c. Springs are strong. d. Thumbscrews work freely. 2. Inspect cases to insure that: a. Fabric inside and outside is intact and reasonably unworn. b. All leather and/or vinyl is firmly attached. c. Zippers work freely. d. All hinges and latches are working. e. Accessories are tidy and in accessory co~partments. 3. Inspect music in pouches to insure that: a. It is complete. b. Music is legible and serviceable. 4. Inspect miscellaneous accessories for serviceability. 5. Report equipment discrepancies to the responsible individual. 6. Notify supply of deficiencies not correctable by users. REFERENCES: TC 12-02N/T, The Piano/Guitar Section Leader's Handbook. 3-III-21 875-454-3701 Play Solo Guitar Literature in the Classical or Popular Idiom (w/Preparation) CONDITIONS: You will be provided with two difficult guitar solos, one in the classical idiom and the other in the popular idiom. You will choose one to prepare for performance. You will have approximately 60 days to prepare the solo for performance. You may perform on-an amplified or acoustic guitar. STANDARDS: A recording of your performance will be evaluated by a panel of three highly trained senior Army Bandsmen and all three must agree that you have met the following criteria: 1. DIRECTIONS FOR PERFORMANCE. Your response to all directions for performance must clearly demonstrate an awareness of the meaning of those directions. 2. ARTICULATION. Your technique must be good enough to maintain the indic-ated rhythm or tempo. Slurs and staccato and various directions for articulation must be so cleanly executed that there is no doubt of your intent. 3. PITCH. The solo must be played precisely as written. Intonation must be sufficiently accurate to leave no doubt about your intended pitch. 4. TIME. You must execute all rhythms correctly. Your tempo must be within 12 beats .per minute of the indicated-tempo unless a change is indicated by the music. PERFORMANCE MEASURES: Play the pas'sage as well as possible, striving for an error free performance. REFERENCES: See Appendix A. 3-III-22 875-454-3703 Play Grade Level 4* Guitar Music at Sight CONDITIONS: You will be given an arrangement of guitar music in the popular idiom. The music may be in chord symbols, written or in a combination. You will have three minutes to examine the music. A metronome will be available. STANDARDS: A recording of your performance will be evaluated by a panel of three highly trained senior Army Bandsmen and all three must agree that you have met the following criteria: 1. DIRECTIONS FOR PERFORMANCE. Your response to all directions tor performance must clearly demonstrate an awareness of the meaning of those directions. 2. CHORDS. You may play no more than two wrong chords when playing chord symbols. The chords may be played in any inversion. You must play sufficient number of chord tones to prove you are aware of the chord voicing. 3. PITCH. You may miss no more than three notes on any written line. 4. TIME. The rhythm of written parts must be precisely as written. The rhythm of chords is optional unless the music clearly indicates the rhythm in•which they must be played. Your tempo must be within 12 beats per minute of the indicated tempo. PERFORMANCE MEASURES: 1. Analyze the music noting the following: a. Key signature. b. Meter. c. Obvious rhythm problems. d. Accidentals. e. Difficult chord skips and awkward fingerings. 2. Play the passage as well as possible, striving for an error free performance. REFERENCES: DA Pam 350-41, Basic Music, Chapters 8 and 9, Appendix 1. See Appendix A. *As indicated in Band Music Guide, published by "The Instrumentalist". 3-III-23 APPENDIX A REFERENCES NOTE: All references containing information on the subjects listed in this Soldier's Manual may not be listed here. New material is constantly being· published and present references may become obsolete. See the DA PAM 310 series and instructional catalogs to keep up to date. SECTION I -Department of the Army Publications ARMY REGULATIONS (AR) 220-90 Army Bands 340-15 Preparing Military Correspondence 340-2 Maintenance and Disposition of Records FIELD MANUALS (FM) 12-50 The Military Band 21-40 Chemical, Biological, and Nuclear Defense 21-41 Soldier's Handbook for Defense Against Chemical and Biological Operations and Nuclear Warfare Ml6Al Rifle and Rifle Marksmanship PAMPHLETS (DA Pam) 310-1 Index of Administrative Publications 310-2 Index of Blank Forms 310-3 Index of Doctrinal, Training, and Organizational Publications 310-4 Index of Technical Manuals, Technical Bulletins, Supply Bulletins, and Lubrication Orders 350-41 Basic Music 350-42 Harmony TRAINING CIRCULARS (TC) 12-71-l?PT Department of the Army Publications 12-02 The Section Leader's Handbook SUBCOURSES MlJ0-076 Basic Harmony A-1 TRAINING EXTENSION COURSES (TEC) LESSONS 901-071-0091-F Unit Development and Training, Part 1 901-071-0092-F Unit Development and Training, Part 2 931-061-0060-F NBC The Mask931-061-0061-F NBC Masking and when to do it 931-061-0065-A NBC Maintenance of the Ml7 Series Mask 939-071-0010-F Disassembly and Assembly of the Ml6Al Rifle 939-071-0011-F Maintaining the Ml6Al Rifle TECHNICAL MANUALS (TM) 3-4240-279-10 Mask Chemical-Biological Field, ABC-Ml7Al, Ml7 and Accessories9-1005-249-10 Operator's Manual Ml6Al Rifle SPECIAL TEXTS Stage Band Techniques. for Brass &Woodwind, Conley. Available at no charge from the US Army Element, School of Music, Naval Amphibious Base (Little Creek), Norfolk, VA 23521. A-2 NOTE: References marked with an asterisk(*) in the Task Summaries, as well as references in Section II, are procurable UP AR 220-90, Chapter 5. SECTION II-A -Publications Common to Bandsmen Practical Band Instrument Repair Manual, Tiede Published by William C. Brown Company Publishers, 135 s. Locust St. Dubuque, IA 52001 Sightsinging Complete, Benward Published by William C. Brown Company Publishers, 135 S. Locust St. Dubuque, IA 52001 A New Approach to Sight Singing, Berkowitz, Fontrier, and Kraft Published by W.W. Norton and Company 500 Fifth Avenue New York 10036 A New Approach to Ear Training, Leo Kraft Published by W.W. Norton and Company 500 Fifth Avenue New York 10036 Band Music Guide, an anthology Published by "The Instrumentalist" 1418 Lake Street Evanston, IL 60204 SECTION II-B -Publications for Guitar Players A Modern Method for Guitar, Leavitt Published by Berklee Press Publications 1140 Boylston Street, Boston, MA 02215 Recommended for guided study in all areas. Melodic Rhythms for Guitar, Leavitt Published by Berklee Press Publications 1140 Boylston Street, Boston, MA 02215 Recommended for rhythm study. Instruction Chord Book for Guitar, Leis Published by Gene Leis Studios Inc. P.O. Box 338, Manhattan Beach, CA 90266 Recommended for chord study. · Single String Studies for Guitar, Salvador Published by Belwin-Mills P~blishing Corp. 25 Deshon Drive, Melville, NY 11746 Recommended for melodic line study. Aids to Technique for Guitar, Smith Published by Chas. Colin 1225 Sixth Avenue, New York, NY 10019 Recommended for technique study. A-3 Guitar Position Studies, Filiberto Published by Mel Bay Publications Inc. 133 West Jefferson, Kirkwood, MO 63122 Recommended for finger coordination. Mel Bay Guitar Method I, II &III, Filiberto Published by Mel Bay Publications Inc. 133 West Jefferson, Kirkwood, MO 63122 Mel Bay Guitar Method IV &V, Filiberto Published by Mel Bay Publications Inc. 133 West Jefferson, Kirkwood, MO 63122 Jazz Guitar, Book 2, Baker Published by Lewis Music Publishing Co. Inc • .39 West 60th Street, New York, NY 10023 Recommended for chord melody study. Complete Guitar Repair, Kamimoto Published by Oak Publications c/o Music Sales Corp, 33 West 60th St, New York, NY 10023 A-4 APPENDIX B REPRESENTATIVE MUSIC NOTE: These selections were compiled from a poll of Active Army Bands in 1976. This list is considered representative of music typically played by Army Bands. Its purpose is to serve as an example of the type of music used in each category. It is not meant to imply that this music is required to be stocked by all band libraries. Selections for testing may or may not be chosen from this list. The SQT Notice will include any music required for testing. Composers, publishers, and prices may be found in the Band Music Guide published by "The Instrumentalist", 1418 Lake Street, Evanston, IL 60204. GRADE LEVEL 4 CONCERT MUSIC REPRESENTATIVE CONCERT MUSIC The Sinfonians Alle Borocco Variations on a Korean Folk Song Motown Portrait Divergents J.C. Superstar Overture to Colas Breugnon Eldorado Stars and Bars REPRESENTATIVE STAGE BAND GRADE LEVEL 5 POPULAR MUSIC Big Band Milestone Fiddler on the Roof Basie Straight Ahead Hair Copley Square Midnight Cowboy Twice as Nice Oh Calcutta The Preacher Rocky LEAD SHEET MUSIC SIGHT READING Wave Call Me Dansero Quiet Nights &Quiet Stars Shadow of Your Smile Pan Fly Me To The Moon Once I Loved One Note Samba B-1 QUESTIONNAIRE We would appreciate your help in improving this manual. 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DEPARTMENT OF THE ARMY US ARMY ELEMENT, SCHOOL OF MUSIC POSTAGE AND FEES PAID NAVPHIBASE (LITTLE CREEK) DEPARTMENT OF THE ARMY NORFOLK, VA 23521 DOD-314 OFFICIAL BUSINESS PENALTY FOR PRIVATE USE $300 Soldier's Name Grade ------------------------- Mailing Address ------------------------ DEPARTMENT OF THE ARMYUS ARMY ELE~NT, SCHOOL OF MUSIC POSTAGE AND FEES PAIDNAVPHIBASE (LITTLE CREEK) DEPARTMENT OF THE ARMYNORFOLK, VA 23521 DOD-314 OFFICIAL BUSINESSPENALTY FOR PRIVATE USE $300 COMMANDANTUS ARMY ELEMENT, SCHOOL OF MUSICNAVPHIBASE (LITTLE CREEK)NORFOLK, VA 23521 -----------------------Fold here-then fasten at top---------------------- FM 12-02T 3 MARCH 1978 By Order of the Secretary of the Army: BERNARD W. ROGERS General, United States Army Chief of Staff Official: J. C. PENNINGTON Brigadier General, UnitedStatesArmy The Adjutant General DISTRIBUTION: Active Army, ARNG, and USAR: Special. Additional Requirements: Unit Requests-Units requiring additional copies may requisition on DA Form 17 direct from US Army AG Publications Center, 2800 Eastern Boulevard, Baltimore, MD 21220. Soldier Requests -Soldiers may order directly from preparing agency by using preaddressedreorder blank contained in printed manual. *U.S. GOVERNMENT PRINTING OFFICE : 1977 0-735-082/33